REGARDING MY TRANSLATION OF LORCA’S ‘DONA ROSITA’
-------------------------------------------------- Lorca sits uneasily with British audiences. Although there have been some fine productions of his plays, from time to time, there has never really been any understanding of his essential poetic qualities and the great variety of his dramatic output. It could be that he is too Spanish to translate into the Anglo Saxon mould. Lorca is a one off. He has inspired artists, musicians, poets and writers from all walks of life but, in my opinion, he still remains an enigma to British audiences ‘Dona Rosita’ was written in 1935, a year before Lorca was murdered by firing squad, another victim of the madness which swept through Spain as the Spanish Civil War. The theme of the play is the passage of time. Act One takes place in 1890, Act Two in 1900 and Act Three in 1910. Lorca draws parallels between Dona Rosita’s life and these historic periods, beginning with the vitality of her youth, the attainment of maturity and finally the loss of all hope. This translation is only an approximation of Lorca’s genius and would require a team of people to bring it together successfully for the theatre – director, actors and designers. I remember the thrilling production of ‘Yerma’ many years ago at the World Theatre Season at the Aldwych by the brilliant young South American director, Victor Garcia, in which the set consisted of a tarpaulin on which the actors had to move. It gave the impression of people walking across the bare earth, a most wonderful piece of design to complement the characters, the theme and the landscape. Although it might be inappropriate nowadays for ‘Dona Rosita’ to be staged on a tarpaulin a similar inventiveness is needed to rise to the challenge of this masterpiece or indeed any of Lorca’s plays. JULIUS CAESAR By William Shakespeare Adapted by MICHAEL THEODOROU E mail : [email protected] CAST -------- MARULLUS, riot police FLAVIA, riot police COBBLER CARPENTER CAESAR, dictator and head of state CALPURNIA, his wife ANTONY, loyal to Caesar SERVANT OF ANTONY BRUTUS, a conspirator LUCIUS, his servant CASSIUS, a conspirator CASCA, a conspirator DECIUS, a conspirator CICERO, a conspirator TREBONIUS, a conspirator METELLUS CIMBER, a conspirator CINNA, a conspirator A SOOTHSAYER OCTAVIUS , nephew to Caesar SERVANT OF OCTAVIUS MESSENGERS SOLDIERS THE CROWD , citizens of Rome ( as many as possible) RUNNING TIME 60 minutes TOTAL CAST SIZE : 30 + NOTES ON THE CONCEPT OF THIS VERSION This is an updated modern version of ‘Julius Caesar’ which should be played in modern dress. Military uniforms should be the uniforms of the modern military(fatigues) with the use of modern weapons such as guns and machine guns in evidence. In the war scenes the sounds should be the sounds of modern warfare including bomb explosions, helicopters and jet aircraft. This version was originally written for outdoor performance in a school quadrangle on hard surfacing with cars and army jeeps bringing in characters but there is no reason why it cannot be played without cars etc on a more conventional stage area inside. The language has been updated but there are still some of the original speeches left intact to give the play its classical sound. The crowd should be as large as resources permit, twenty or more if possible. The play is suitable for performance by students aged from 12 years old but there is no reason by younger children should not take part. The play could be performed by all male or all female cast or a mixture. The casting should be cross sex casting based on ability rather than gender. The music suggested is ‘THE PLANETS’ by Gustav Holst. RUNNING TIME : 60 minutes. PLAYS FOR LARGE CASTS IN SCHOOLS
---------------------------------------------------------- by Michael Theodorou ----------------------------- Finding the right play for a school production is always a difficult task especially when you have dozens of enthusiastic young minds beating at the door and you don’t want to disappoint them. Whether you are a Primary School or a Secondary School the problem of finding the right play for your school can be equally irksome so I want to give a bit of advice based on my own experience. I remember hours of going through French’s catalogue of plays trying to find the right material – full length plays, one act plays, plays for children and young people, musical plays, all male, all female plays, mixed casts, flexible casting etc…. One also has to bear in mind the approval/disapproval of parents, head teachers, other members of staff, governors and, last but not least, the students themselves! There is also the issue of the status of drama within the school and whether you have the support of the Head. If you have the support of the Head then you are fortunate and there should be far fewer problems in the process. If you don’t have the support of the Head then it’s an upward struggle. You will always need the support of other members of staff/parents and it is as well to get as many as possible on your side. You should find out what skills the other members of staff/parents have to offer (design, technical skills, costumes, musical skills, crowd control etc) and remember that you cannot do it alone. The Drama teacher or the English teacher or the person who ‘volunteers’ to direct a production has to make a choice of a particular text and find out if the rights are available or not and then go ahead and order or print scripts. Nowadays it’s a bit easier in some ways because some scripts are downloadable for a small fee. The choice of plays I have made over the years has been a mixture of personal taste, the age range and social background of the school and the tradition there has been for drama. I’ve taught in Primary Schools, Junior Schools, State Comprehensives, Prep Schools, Independent Schools, Colleges of Further Education and Drama Schools covering an age range of 5 to 21 +. The biggest mistake is to choose a play that is not challenging enough for the students. You should always aim high. The following plays that I recommend have large enough casts to cater for any number/mixture of pupils/students and are challenging enough to make a full evening or day entertainment for an audience. These plays may not be suitable for all but you could find something here that may inspire you and, if so, I have achieved my purpose in writing this article. I include some notes on each play that may be useful. A Long March to Jerusalem by Don Taylor This an excellent choice for Lower School or Senior School students and has enough parts to serve as a whole school production if so desired. It’s a medieval setting based on the true story of the children’s crusade and could be linked to a History department curriculum. There will be a lot of costumes to be hired or made! http://www.amazon.com/Long-March-Jerusalem-Acting-Edition/product-reviews/0573050457/ref=dp_top_cm_cr_acr_txt?showViewpoints=1 The Rope by Plautus This is an old Roman comedy in the style of ‘carry on’ films and can be a bit suggestive in parts. If you think of the Frankie Howard ‘Up Pompeii’ series on television you will recognise the style of presentation necessary! It would not be suitable for Primary Schools but Secondary Schools would love it. http://www.penguinclassics.co.uk/nf/Book/BookDisplay/0,,9780140441369,00.html?The_Rope_and_Other_Plays_Plautus The Visit by Friedrich Durrenmat This great play by the German/Swiss writer Durrenmatt is a wonderful opportunity for a school to shine in a classic modern late 20th century play. The story of Madame Zachanassian and the way she takes her revenge on the man who ruined her life when she was a young girl is nothing short of masterly. You really need older students in the leading roles but there are plenty of ‘extras’ for the younger members of the school. http://www.goodreads.com/book/show/317764.The_Visit Post Mortem by Noel Coward The play is set in the First World War and is particularly relevant this year (2014) proving conclusively that Noel Coward is a playwright of the first order and not just a drawing- room comedy writer. There is a surreal and experimental nature to the play which ought to be performed more often. There are more parts for males but there is still a good selection of female roles and is suitable only for ages 13 +. http://www.samuelfrench-london.co.uk/p/12532/post-mortem The Cuckoo Clock by Mrs Molesworth This charming story by the Victorian children’s writer, Mrs Molesworth, may be regarded as slightly old fashioned but it would certainly suit some Primary or Junior Schools who want a more traditional approach. I adapted this for the stage and it has been successfully performed by many schools including one that used the entire school plus some members of staff! It’s available from http://www.dramaworks.co.uk/ps_thecuckooclock.html Lysistrata by Aristophanes This is an adult comedy in the tradition of bawdy Greek classical drama and would only be suitable for Senior School or Colleges who have a more broad minded approach to drama. There is nothing unsavoury in the script but some schools may find the language and the ideas a bit too ripe for their audience. It has been successfully performed by a number of schools as a Sixth Form Production and plays very well to an audience. Excerpts are available from http://www.dramaworks.co.uk/ps_lysistrata.html before you make a final decision as to whether the play is for you. Oh, What a Lovely War by Gerry Raffles, Joan Littlewood and Charles Chilton Again this superb piece of theatre is particularly relevant now in the centenary of the First World War that is being explored by film and television in documentaries and drama. The characters, the music and the action are all very challenging for any institution to perform and the performance of a young cast always adds another dimension. Juniors can be used as well. The futility of war, the comedy of war, the ‘pity of war’ - it’s all here to be explored by an imaginative school. http://www.amazon.co.uk/22Oh-Lovely-War-22-Modern-Classics/dp/0413302105 The Royal Hunt of the Sun by Peter Shaffer A great opportunity here for a massive production set in 16th century Peru in which a small force of Spanish soldiers crush the Inca civilisation. This remarkable play is not often done professionally because of the huge cast requirements but it would suit an ambitious school very well. A multi racial concept should be adopted and girls could play boys parts quite easily. A link to the History Department is recommended to link up to the production. http://www.goodreads.com/book/show/315268.The_Royal_Hunt_Of_The_Sun The Tempest by William Shakespeare This has always been a popular choice for all levels of presentation by schools, amateurs or professionals. You can more or less do what you like with it, set it anywhere, have flexible male/female casting but you must insists on clear speech. The spoken word is absolutely crucial and you should explore hiring a speech specialist if there is no one at the school who can teach it. http://www.amazon.co.uk/Tempest-William-Shakespeare/dp/1451532512 Dracula by Bram Stoker This is my own dramatisation of the novel which I’ve set firmly in the Victorian period in which it was written. The action moves swiftly from scene to scene and has the advantage of a large ‘chorus’ of Transylvanian peasants which adds to the size of the cast and provides some eerie moments. Too much gore should be avoided but concentrate on the characters instead. An imaginative sound/musical score would be an advantage and add to the overall effectiveness of the script. I was fortunate enough to have two brilliant young composers for the two productions I did back in the nineties. Since then it’s been performed by many youth groups and schools up and down the country. http://www.dramaworks.co.uk/ps_dracula.html Over the years I have produced and directed many other productions in schools but there is always a need for large cast plays and I hope that this article may help. A MESSAGE FROM BAYLA LUGOSI! ------------------------------------------------ Good evenink! I hope you’re not frightened! I am your old friend, Bayla Lugosi, better known to the vorld as the fiendish vampire, Count Draaacula! If I have frightened you in the past it is because I portrayed the character just as I learned it many years ago in my birthplace - in Transylvaaania! And don’t think that you are safe from vampires where you are sitting now! Supernatural beings are not chained to their graves! They are free to roam the entire vorld and even to see their victims……… right where you are sitting now! So……… when you lie in bed tonight, in your daaarkened room, and these thoughts give you nightmares and you dread to look behind the curtain for fear of seeing my horrible face appear at the window….. just remember that………. after all……….. THERE ARE SUCH THINGS!!!!!!! A MESSAGE FROM ALFRED HITCHCOCK
------------------------------------------------------------ (We hear the dramatic opening of Rousell’s Symphony No 3 and then a light comes up on ALFRED HITCHCOCK standing and speaking directly to the camera) Good evening. This is Alfred Hitchcock speaking. In the past you have known me as a person who makes movies to frighten people. Today I am speaking to you all in Great Britain, from my home in California, to let you know of a danger that is coming to us all in the shape of a possible Third World War. The Queen has asked me to convey this message to you - even though she almost forgot my Knighthood! - so that you would not be frightened and would behave in a thoroughly British manner by ignoring completely the menace that is coming to engulf you. Alma and I share her concerns and would recommend that instead of getting depressed you ask for a copy of a play called ‘A CLEAR HORIZON’ which is about what happened to me towards the end of my life. Both Alma and I fully endorse and approve this script which will keep away all those untidy thoughts about forthcoming disasters! http://michaeltheodorou.weebly.com/index.html AN UNDISCOVERED INTERVIEW BETWEEN ALAN WHICKER AND ALFRED HITCHCOCK.
H: Mr Whicker, during a long and rather fascinating life who would you say was the most interesting person you've ever met? W: Well, I was rather disappointed that I never managed to interview you, Mr Hitchcock, because I’m pretty sure you would have been top of the list… H: Thank you. W: …but if you want me to quote ‘names’ then that would be impossible. H: Why? W: Because they were all equally interesting. H: That’s a very bland answer, Mr Whicker, and completely avoids the question. W: I know, Mr Hitchcock, but that’s all part of my technique. H: As we’re both Leos, would you feel more comfortable if I made myself available so that you could interview me first? W: That’s extremely kind of you, Mr Hitchcock, yes, I’d like that. H: I can’t guarantee that you’ll get an honest answer from me. W: One doesn’t expect a straightforward answer from Alfred Hitchcock. H: As long as you don’t ask me questions about handcuffs and blondes! W: I can guarantee that, Mr Hitchcock. H: Good. W : What interests you about contemporary life? H: Well, you know, nothing much had changed since my day. There are still murders and there are still wars and there are still governments who want to create mischief. Nothing’s changed really. W: Were you pleased when your film ‘Vertigo’ was voted best film of all time by the British Film Institute’s Sight and Sound Magazine? H: I was flattered, of course, who wouldn’t be, but I don’t think Orson Welles was very happy when I knocked him off his perch. W: You’ve sometimes been accused of being an ‘obsessional’ director with limited themes in your films. How do you respond to that? H: As I always have done by ignoring my critics. W: There have been two films made about you recently one starring Anthony Hopkins and the other starring Toby Jones. Did either of these actors come near to representing you accurately? H: Of course not, how could they when they have based their scripts on lies and hearsay? W: So neither of these films comes anywhere near the truth? H: Of course not. W: Would you be happy to see more films or even a play about you? H: As I’m now dead I don’t think I have a say in the matter! W: Dead? I wasn’t aware that you were dead! H: No, of course not, Alan. You’ve only just arrived. It takes a few weeks to adjust to life up here. W: Are you saying that I’m dead too? H: How else would you be able to interview me? W: Oh. What happens now then? H: It’s my turn to interview you! Who would you say was the most interesting person you’ve ever met? Apart from myself? (See Home Page on this website for script details of 'A CLEAR HORIZON' by Michael Theodorou) AN INTERVIEW WITH ALFRED HITCHCOCK
----------------------------------------------------------------- I: Mr Hitchcock, what is your recipe for happiness? H: Never having to read a newspaper. Most of the ills of modern life stem from people reading newspapers. They are so depressing and so full of lies. For health reasons I would advise that anyone who wishes to live to a ripe old age be discouraged from reading such rubbish. I: But surely, Mr Hitchcock, you have gained many of your best ideas from newspapers? H: Yes, but I use the stories from newspapers in a creative way. I don’t let them influence me emotionally. I: Is there any thing, Mr Hitchcock, that you positively detest in real life? H: Yes. I detest people who are cruel to animals. I: How would you deal with that? H: I would put them in a cage and never let them out. I: Isn’t that rather cruel? H: No, I don’t think so. I would also make them watch an endless loop of all my worst films. I: There was a case recently involving cruelty, wasn’t there, in which two parents starved their child to death. What would you have done to dispense justice in such a case? H: I would have asked Alma to cook them a wonderful meal and then place it just outside their prison cell in a position where they would be able to see it clearly. As they get hungrier and hungrier because of the delicious aroma of the food I would move it further and further away. The next day the same process would be repeated. I: A truly Old Testament solution, Mr Hitchcock! H: I am a very Old Testament kind of person! I: Mr Hitchcock, you are regarded as one of the greatest fright merchants in the history of modern cinema, what advice would you give to young cinematographers to day? H: Stop making films about policemen. I: If someone were to make a film or write a play about you, what advice would you give them? H: Choose a better subject. I: And if they chose to ignore your advice? H: Remember my sense of humour Remember my favourite pieces of music Don’t take me seriously. I: Anything else? H: Yes. Like many overweight people you have to remember I was a very good ballroom dancer. I: Is there an actor that you believe would be capable of portraying you either on stage or on film? H: No. I: Why? H: Because most actors would only present a caricature. I: What about your wife? Which actress would best portray her? H: Oh, Alma, would be easy. She’s such a natural person she’d be easy to cast. I: Do you have any writers in mind who could write successfully about you both? H: There is only one. http://michaeltheodorou.weebly.com/index.html FATHER TED AND PERFECT CASTING
--------------------------------------------------- It does seem odd that I have to go back to a comedy series from the mid nineties before I can be guaranteed a good laugh! ‘Father Ted’ which originally aired over three series from 21st April 1995 to 1st May 1998 ran for a total, including a Xmas Special, of twenty five episodes. Set on the fictional Craggy Island , a remote location off Ireland’s west coast, it starred Dermot Morgan as the eponymous ‘Father Ted Crilly’, alongside fellow priests ‘Father Dougal Mcguire’ (Ardal O’Hanlon) and ‘Father Jack Hackett’(Frank Kelly). Exiled on the island for various past incidents, the priests live together in the parochial house with their housekeeper ‘Mrs Doyle’ (Pauline Mclynn). Now for those of you who are, like me devotees, of this programme I am preaching to the converted. However, I would just like to add something about the casting. It was so perfect for this show that I cannot possibly conceive of any other actors playing these parts. In fact one of the other actors who played in a few episodes as Bishop Brennan ( the actor Jim Norton) will always be associated in my mind with that role despite all the other brilliant work he has done! What was it about this series that made it funny? Well, for a start the writers, Arthur Mathews and Graham Lineham knew a thing or two about comedy. That helps. They also struck upon an unusual but totally believable situation in which two priests can live and function as priests within a remote island community. Was anyone ever offended by the content and concept of this series? Yes possibly but, thank God, I don’t know them! A good friend of mine, a Church of England chaplain, first introduced me to Father Ted. I took that as a sign of approval but then he was a very unusual chaplain in that he didn’t like typical ‘christians’. In that respect he more of a Catholic, I think, which is why he enjoyed Father Ted hugely. Anyhow, God rest his soul, he’s now dead but then so is Father Ted, I mean the actor Dermot Morgan who died tragically of a heart attack at the age of 45! I often think of them together in Heaven going through the jokes with my friend playing the Ardal O’Hanlon part! ‘Anyhow, Ted, what do you think of comedy nowadays?’ ‘ Comedy, Dougal, did you say comedy? I can’t think of a blessed thing that makes me laugh apart that John Cleese fella in Fawlty Towers, oh and there was that spotting image thing back in the 80’s with those puppets. That was quite funny’ ‘Does nothing else make you laugh, Ted ?’ ‘The only thing that gives me a good laugh nowadays, Dougal, is that have I got news for you programme, that’s quite funny sometimes’ ‘Nothing else, Ted?’ ‘The trouble is, Dougal, comedy’s been hijacked by all those stand up silly comedians who ought to have sat down years ago and given us all a bit of peace and quiet!’ ‘I agree, Ted, I can’t stand them myself!’ |
|